1 Alfred Hrdlicka 7 Helmut & Johanna Kandl 13 Gerold Tagwerker 19 W. M. Pühringer 25 Franz West Mahnmal gegen Krieg Denkmal für eine Nobelpreis­ mirror.grid_passage 2012 Hic et nunc 2004 Gerngross-Säule 2000/2007 und Faschismus 1988 trägerin 2006 Together with the architect Anna Hic et nunc (Here and Now) is a large The Austrian artist Franz West (1947– The Vienna City Council commissioned After collecting stories and anecdotes in Wickenhauser, the Austrian artist Gerold sculpture by the Austrian artist W. M. 2012) dedicated this column to the the Austrian sculptor Alfred Hrdlicka the Volkertplatz neighborhood for years, Tagwerker (*1965) designed a horizontal Pühringer (*1945). The work is an architect, exhibition organizer, and (1928–2009) to conceive a Monument the Austrian artist duo Johanna (*1954) grid band of grey ceramic tiles for the ­eleven-meter-high metal object that journalist Heidulf Gerngross (*1939). against War and Fascism. Controversial- and Helmut (*1953) Kandl condensed walls of the pedestrian underpass, which breaks through public space. The Gerngross Column is intended as a ly discussed at the time, the ensemble this material to the fictitious biogra- is ornamentally rhythmized by mirror tiles “The sculpture resembles the material- metaphor of an exhibition organizer’s shows suffering, pain, and humiliation phy of a woman who will be awarded interrupting the band both vertically and ized ray of a remote galaxy” Herculean task. An egg with the mirror as consequences of fascism, war, and the Nobel Prize for Economics in 2045. horizontally. (quote by W. M. Pühringer). image of Gerngross’s name caps the anti-Semitism. The Monument to a Female Nobel Prize garbage can tower. Winner is dedicated to her. 1030 Vienna, pedestrian underpass 1050 Vienna, Margaretenstraße/Grohgasse 1010 Vienna, Albertinaplatz Adolf-Blamauer-Gasse/Ghegastraße g U4 Pilgramgasse; buses 12A, 59A 1060 Vienna, Rahlgasse 5 (traffic circle) g U1, U2, U4 Karlsplatz; 1020 Vienna, Volkertplatz g tram 18 Heinrich-Drimmel-Platz Bacherplatz g U2 Museumsquartier trams 1, 2, D Oper g tram 2 Taborstraße/Heinestraße; bus 80A Volkertplatz © Walter Schaub-Walzer / PID, 2009 © Andrea Huemer, 2009 © Iris Ranzinger, 2012 © Markus Hanakam, 2010 © Ulrike Wagendorfer, 2009

2 Michael Kienzer 8 Pedro Cabrita Reis 14 Ernst Caramelle 20 Hannah Stippl 26 Iris Andraschek Stylit 2005 two drawings in the sky, Ohne Titel 2013 work in progress 2010 Tell these people who I am 2011/2012 two paintings underneath 2013 In his work Stylite, Michael Kienzer The Austrian artist Ernst Caramelle’s The Austrian artist Hannah Stippl The Austrian artist Iris Andraschek’s (*1962) interprets space as an archive Marking the façades of the subway (*1952) “fresco-like” wall painting (*1968) used the retaining walls of the (*1963) work comprises three “­carpets” of objects, which he juxtaposes with stations Donaumarina and Donaustadt- Untitled responds to the architectural Ernst- Arnold-Park as the ground for a milled into different sidewalks of Vien- an elongated vertical sculpture. On the brücke with paint, light, and form, the situation of the main passageway. dialogically structured artistic interven- na’s seventh district. The patterns of end of a several-meter-long rod or pipe, Portuguese artist Pedro Cabrita Reis Asymmetric color fields as well as mirror tion. Reacting to the sprayer and graffiti the carpets carry information on three which grows out of a pot-like pedestal, (*1956) has established a visual con- bands along the opposite wall create scene, she worked on the design for the female personalities (Gisela von Camesi- he mounts a well pump which—un- nection with the architecture of the two new symmetries and offer different walls from 2010 to 2013. na de San Vittore, Olly Schwarz, and Vally reachable for pedestrians passing by— subway buildings on the north and on points of view. Wieselthier). sits at the height of the treetops and the south bank of the Danube River. 1050 Vienna, retaining walls of the Ernst-Arnold-Park street lights. 1040 Vienna, subway station Karlsplatz, 1070 Vienna, Lerchenfelder Straße 131 1020 Vienna, U2 station Donaumarina main passageway g U4 Pilgramgasse (Augustinplatz and Stiftgasse 2) 1010 Vienna, corner Stubenring/ 1220 Vienna, U2 station Donaustadtbrücke g U1, U2, U4 Karlsplatz g U6, trams 5, 46 Thaliastraße Weiskirchnerstraße g U2 Donaumarina and U2 Donaustadtbrücke g U3, tram 2 Stubentor © Nora Höglinger / KÖR GmbH, 2015 U2 station Donaustadtbrücke © Lisa Rastl, 2013 © Iris Ranzinger, 2013 © Hannah Stippl, 2013 © Mischa Erben, 2011

3 Ken Lum 9 Speto 15 Franz Graf 21 Heimo Zobernig 27 Heinz Gappmayr Pi 2006 3 Brothers 2014 SUED 2012 ohne Titel 2010 Raumtexte 2006

The permanent media installation Pi in The work by the Brazilian artist Speto The Austrian artist Franz Graf (*1954) has Ivy is a motif associated with both na- From 1961 on the Austrian artist Heinz the western underground pedestrian (*1971) pays homage to the Villas Bôas selected a variety of pictorial motifs from ture and walls. The Austrian artist Heimo Gappmayr (1925–2010) devoted himself passageway on Karlsplatz was created brothers and the narrative cultures his art archives for his four-part installa- Zobernig’s (*1958) ornamental design to language at the interface between the by the Canadian artist Ken Lum (*1956). of Brazil’s indigenous population. The tion in the passageway, which compris- for the walls of the intermediate level in realm of concepts and that of fine art. In the middle of the passageway we find former colonizers Leonardo, Orlando and es 65 glass panels, and assembled them the form of a mosaic aims at producing For Spatial Texts he chose the word ECHO

the transcendent number pi (π) with 478 Cláudio Villas Bôas became dedicated to complex compositions. The subjects an impression of depth by layers of for the façade of Vienna’s Central Library,

decimal places, with the most recently advocates of indigenous rights and follow star charts and connecting lines color. In untitled a photographic model the word ZEIT (TIME) for the entrance Vienna calculated figures being shown on the environments from the 1960s onwards. which reflect relationships between is translated into glass mosaic stones, hall to the subway, and six astronomical

display. words and thoughts of passengers. the former’s pixels corresponding to the names referring to stars for the foyer.

1020 Vienna, columns between Trabrenn- latter’s size. Public Art Public 1010 Vienna, subway station Karlsplatz, straße and Stella-Klein-Löw-Weg 1040 Vienna, passageway Vienna Central 1070 Vienna, Central Library – western passageway, exit Secession g U2 Krieau Station/U1 Südtiroler Platz – Central Station 1050 Vienna, tram station Laurenzgasse Gürtel, Urban-Loritz-Platz 2 a g U1, U2, U4 Karlsplatz g S-Bahn, U1 Südtiroler Platz – Central g trams 1, 62 Laurenzgasse g U6 Burggasse – Stadthalle; Station trams 9, 18, 49 Urban-Loritz-Platz © Jörg Auzinger, 2006 © Iris Ranzinger, 2014 © Iris Ranzinger, 2012 © Marianne Greber, 2010 © Manfred Seidl, 2006

4 Olaf Nicolai 10 Ingeborg Strobl 16 Peter Kogler 22 Ronald Kodritsch 28 Esther Stocker About KÖR Guided Tours Denkmal für die Verfolgten ein Garten (zum Beispiel) 2008 U-Bahn-Station Karlsplatz 2011 Reason to Believe 2009 TONSPUR_passage 2006 der NS-Militärjustiz 2014 Kunst im öffentlichen Raum (KÖR) KÖR also offers individually tailored The title of this large-format work on The Austrian artist Peter Kogler’s (*1959) Reason to Believe by the Austrian artist The SOUNDTRACK_passage is one of GmbH (Public Art Vienna) is commit- guided tours to art projects in During the Second World War Nazi military enamel plates by the Austrian artist solution for the intermediate level of Ronald Kodritsch (*1970) is a life-size five passages in the MuseumsQuartier ted to breathing new life into the ­Vienna’s public space: tours for justice handed out more than 30,000 death Ingeborg Strobl (*1949), a Garden (for the Subway Station Karlsplatz is aimed figure of a man with glasses and a plain Wien dedicated to a certain theme. It city of Vienna’s public space with small groups (up to 15 persons) sentences most of which were passed Example), refers to previous names for at virtually extending its real spatial grey suit carrying an attaché case, is located between courtyards 7 and 8. permanent or temporary art projects. comprising up to six works of art in against deserters. The Memorial for the Novaragasse (Garden Lane from 1797 to structure. A network of computer-gen- which was mounted on the edge of The vault design was developed by the Its endeavors are aimed at strength- a certain area; duration: Victims of Nazi Military Justice by the Ger- 1812 and Gardeners’ Lane until 1862). erated tube forms seems to dissolve the the roof ledge of a corner building. The South Tyrolean artist Esther Stocker ening the identity of the city and of 1.5–2 hours; fee: 150 €. man artist Olaf Nicolai (*1962) stages the The models used for the plant images boundaries of architecture and, with its economic crisis is viewed from a new (*1974). quartier 21 presents sitespecif- individual neighborhoods in terms situation of the individual and demon- are woodcuts from the nineteenth cen- dynamically intertwined shapes, alludes perspective from above. Where does ic sound works by international artists of contemporaneity and at reviving If interested please contact: strates respect for all those who position tury, which evoke the Novara Expedition to the level’s transfer function at the one step further get me? there on a temporary basis. public space as an agora – a place of Kunst im öffentlichen Raum GmbH themselves against the current system. (1857–1859). same time. sociopolitical and cultural discus- Museumsplatz 1 | Stiege 15 1060 Vienna, rooftop Getreidemarkt 17/ 1070 Vienna, Museumsplatz 1 sion. KÖR does not understand art 1070 Vienna 1010 Vienna, Ballhausplatz 1020 Vienna, Novaragasse 8 1040 Vienna, subway station Karlsplatz, corner Mariahilfer Straße g U2, U3 Volkstheater/exit Burggasse; in public space as décor, but as phone: +43 1 52189-1257 g U2, U3 Volkstheater; trams 1, 2, D g U2 Taborstraße U1/U2 intermediate level g U2 Museumsquartier U2 Museumsquartier an offer for the confrontation with e-mail: [email protected] Dr.-Karl-Renner-Ring g U1, U2, U4 Karlsplatz © Iris Ranzinger, 2014 © Christian Wachter, 2008 © Iris Ranzinger, 2012 © Norbert Pruscha © Kay-Uwe Rossenburg, 2006 aesthetical contents and radical www.koer.or.at/en/ solutions and a symbolic marking of hitherto culturally abstemious 5 Rachel Whiteread 11 Julie Hayward 17 Henry Moore 23 INOPERAbLE Gallery 29 Lois Weinberger territories. Publisher’s Notes Mahnmal für die österreichischen abtauchen/auftauchen 2009 Hill Arches 1973 presents ROA 2013 I-Weed, YOU-Weed 2013 jüdischen Opfer der Shoah 2000 Publisher: The Austrian artist Julie Hayward (*1968) The British sculptor Henry Moore (1898– The Belgian street artist ROA realized The installation designed for the lift KÖR manages art projects, commis- Kunst im öffentlichen Raum GmbH The Memorial to the Austrian Jewish has designed the short passage from 1986) donated his work Hill ­Arches to a large-scale street painting on the tower of the Street Art Passageway Managing Director: Martina Taig sions artists, organizes competi- Victims of the Shoah on Judenplatz here to there and vice versa as a zone of the City of Vienna on the occasion of façade of the Amerling School on ­Vienna forges an artistic link to the tions for projects in public space, Compilation: Nora Höglinger Graphic design: SCHIENERL D/AD reminds us of the 65,000 Jews murder­ed switching from one to the other. People the redesign of Karlsplatz in 1975 in Schadekgasse in Mariahilf by position- tags and graffiti that mark the streets allots subsidies to artists or partner Proofreading: Wolfgang Astelbauer under the Nazi regime. The façades of coming from the city go underground in 1978. The sculpture was installed in ing regional animals (beaver, fox, rabbit, bordering Vienna’s 7th district. Wein- organizations, and engages in Printed by Walla GmbH the reinforced concrete cube conceived the direction of the Donaukanal (Danube the reflecting water basin in front of St. chamois) on top of and next to each berger‘s (*1947) work takes up both activities related to these tasks 4th edition: 10,000 copies by the British artist Rachel Whiteread Canal). Guided by the bright blue of the Charles’s Church. Its softly other. ROA’s works rely on simple means: their writtenness and their proliferating, (symposia, publications, education- November 2015 | all information subject (*1963) present themselves as walls of passage, the way leads them toward the flowing lines describe two rhythmical- black and white house paint and spray intoxicating aspects, and mirrors them al programs, etc.). to change library shelves turned outward. water – and back into the light again. ly moving bodies, whose gaps are as paint recall the aesthetic of naturalistic into the MuseumsQuartier. important as their material forms. drawings. Since Summer 2015 the work © Bildrecht GmbH, 2015: Iris Andraschek, 1010 Vienna, Judenplatz 1030 Vienna, pedestrian underpass is partially overpainted. 1070 Vienna, lift tower of the Street Art Richard Deacon, VALIE EXPORT, Franz g U3 Herrengasse Angelo-Soliman-Weg , connects Löwen­ 1040 Vienna, Karlsplatz Passageway in the MQ, Museumsplatz 1 Graf, Julie Hayward, Hofstetter Kurt, gasse and Treppelweg (Danube Canal) g U1, U2, U4 Karlsplatz 1060 Vienna, Schadekgasse, vis-à-vis No. 18 g U2, U3 Volkstheater/exit Burggasse; Christine & Irene Hohenbüchler, Alfred g trams 1, O Radetzkyplatz g U3, buses 13A, 14A Neubaugasse U2 Museumsquartier Hrdlicka, Donald Judd, Ronald Kodritsch, © Eva Amann / KÖR GmbH, 2012 © Stephan Wyckoff, 2009 © Eva Amann / KÖR GmbH, 2012 © Julian Mullan, INOPERAbLE Gallery © Barbara Horvath / KÖR GmbH, 2014 Brigitte Kowanz, Ulrike Lienbacher, Maria Theresia Litschauer, Hubert Lobnig, Henry Moore, Olaf Nicolai, W. M. Pühringer, 6 Honet 12 Donald Judd 18 Ulrike Lienbacher 24 Lawrence Weiner 30 VALIE EXPORT Hannah Stippl, Ingeborg Strobl, Manfred Totem Modern 2013 Stage Set 1991 IDYLLE 2002 In the Still of the Night 1991 Kubus EXPORT – Der Trans­parente Wakolbinger, Lawrence Weiner, Rachel Raum 2001 Whiteread, Heimo Zobernig. 14 concrete columns of the subway Stage Set by the American artist Donald The facade of the municipal tenement The US conceptual artist Lawrence line U2 along the Vorgartenstraße form Judd (1928-1994) is the expression complex shows a wall picture by the Weiner (*1942) mounted the poetic Cube EXPORT – The Transparent Room is Cover: Speto, 3 Brothers, 2014 the stage for this Street Art project. of an uncompromising vision situated painter Rudolf Böttiger which unfolds comment ZERSCHMETTERT IN STÜCKE a glass volume designed by the Austrian Photo: Iris Ranzinger, 2014 The minimalist figures of the French between art and architecture. Six panels a family idyll of the Nazi era. In 1945, (IM FRIEDEN DER NACHT) / [SMASHED TO media artist VALIE EXPORT (*1940) and artist Honet (*1972) visually refer to the made from differently colored strips of only the swastika adorning the work PIECES (IN THE STILL OF THE NIGHT)] on installed under an arch of the elevated superheroes of the 1970s, linking them fabric are mounted at differing heights. was removed. The Austrian artist Ulrike the Esterházypark flak tower. The text track of the city’s former metropolitan up to a modern totemism. They rhythmize the open space and vis- Lienbacher (*1963) has mounted a pane reminds us of the threat of Vienna’s de- railway. It was conceived as an open ualize serializations and processes that of glass with the word IDYLLE (IDYLL) in struction through nightly air raids in the space for communication, creativity, 1020 Vienna, columns between Trabrenn­ are characteristic of Judd’s work. mirror image in front of the painting. Second World War and thematizes the and contemplation and serves as a straße and Stella-Klein-Löw-Weg incompatibility of violence and peace. venue for presentations by artists. g U2 Krieau 1030 Vienna, Stadtpark (between 1050 Vienna, Brandmayergasse 27 bridge and path toward Heumarkt) g tram 6 Margaretengürtel/Arbeiter­gasse; 1060 Vienna, Esterházypark, flak tower 1080 Vienna, Lerchenfelder Gürtel, g U4 Stadtpark bus 59A Reinprechtsdorfer Straße/ g U3 Neubaugasse; buses 13A, 14A, 57A Gürtelbogen 48 Arbeitergasse Haus des Meeres g U6, tram 2 Josefstädter Straße © Iris Ranzinger, 2013 © Nora Höglinger / KÖR GmbH, 2015 © Rainer Iglar © Heinz Holzmann, 2009 © Nora Höglinger / KÖR GmbH, 2015 31 Hofstetter Kurt 37 Maria Hahnenkamp 43 Manfred Wakolbinger 45 Maria Anwander & Ruben Aubrecht 47 Peter Fattinger 49 Christian Jankowski N.I.C. – nature is cool 2009 Ornament-Vorhang 2008/2012 Energie, die aus dem Inneren Memorial Persecution, Resistance PARKLIFE 2010 Die große Geste 2014 kommt 1998 and Struggle for Freedom 2015 N.I.C. – nature is cool is a sculpture Originally, the Austrian artist Maria Realized in the context of a course at The German artist Christian Jankowski’s by the Austrian artist Hofstetter Kurt Hahnenkamp (*1959) had realized the The three-part work Energy from Inside The memorial is dedicated to people Vienna’s University of Technology by 24 (*1968) project for the subway station (*1959). Three spheres with a diame- installation Ornamental Curtain in the by the Austrian artist Manfred Wakol- from Hernals who made a stand against students under the supervision of Peter Donauspital deals with general ques- ter of 111 cm each are positioned one Kabelwerkpark in 2008 in collaboration binger (*1952) comprises sculptures the terror of National Socialism between Fattinger (*1972), the building provides tions of art commissioning. The Great on top of the other; offset from the with the architect Willi Frötscher. The enclosed in cubic glass bodies. A 1934 and 1945. To commemorate these a stage, a platform, a room for activities, Gesture consists of 18 text and sign general axis, the middle sphere laterally work was transferred to the Kurpark productive tension arises between the persons their names are shown on flip and a multifunctional sculpture for local images that are placed throughout the touches the one above and below it. Oberlaa in autumn 2012. Showing simple geometry of the shell and the dot displays. They came from different childcare in the midst of the housing station. Its impact derives from both This arrange­ment conveys a feeling of overlapping lines of an ornamental dynamic, room-spanning wave-like political, ethnic, ideological and reli- estate’s massive apartment blocks. its conceptual precision and its highly hovering lightness. drawing, the four glass panels condense forms inside. gious backgrounds. phantasmatic content. the park’s nature in individual display 1220 Vienna, playground, Rennbahnweg 29 1080 Vienna, corner Lange Gasse/ windows. 1160 Vienna, Paltaufgasse 1170 Vienna, Park der Freiheit, forecourt of 1220 Vienna, U2 station Donauspital Laudongasse g U3, trams 46, 2 Ottakring the municipal railway station Hernals g U1 Rennbahnweg; bus 27A g U2 Donauspital g tram 5 Laudongasse 1100 Vienna, Kurpark Oberlaa g S45, tram 43 Hernals Theodor-Kramer-Straße g tram 67 Oberlaa – Therme Wien © Markus Hanakam, 2010 © Sonja Huber / KÖR GmbH, 2012 © Markus Hanakam, 2010 © Iris Ranzinger, 2015 © Peter Fattinger, 2010 © Iris Ranzinger, 2014

32 Lois Weinberger 38 Peter Sandbichler 44 Leo Zogmayer 46 Isabella Kresse 48 Stephan Huber 50 Richard Deacon Dachgarten Wienbibliothek 2005 Trans-form 1997 JETZT 1999 FÜR JOHANNA 2011 Aspern Affairs 2013 Zeitweise 1993

The Austrian artist Lois Weinberger Carriers of an aesthetical and socio-­ The text sculpture in concrete was In memory of Johanna Dohnal (1939– Aspern made world history on two occa- For his monumental sculpture From (*1947) designed an installation with cultural meaning, the Austrian artist conceived by the Austrian Leo Zogmayer 2010) the Austrian artist Isabella Kresse sions: in 1809 Napoleon suffered his first Time to Time the Welsh sculptor Richard plants for the roof of the underground Peter Sandbichler’s (*1964) objects (*1949) and realized together with (*1976) had 23 trees planted in public defeat on the battlefield in Aspern, in Deacon (*1949) combined organic prin- depot of the Vienna City Library, which, explore the relationship between the the landscape architects Ivancsics & parks of all 23 municipal districts of 1912 the then largest and most modern ciples of composition with mechanical though inspired by natural processes, private sphere and the realm of the Langenbach. The artist chose the word Vienna. The birch trees FOR JOHANNA are airport of Europe was inaugurated. The engineering techniques. The weight of strikes us as abstract. The ramifying public: positioned right in the middle of JETZT (NOW) for the area in front of the to remind us of Austria’s first Minister German artist Stephan Huber (*1952) has steel seems to be completely suspend- lines of Roof Garden of the Vienna a shopping street, the aluminum sculp- school building. The work is a negative for Women’s Issues and to inscribe her visualized the two events in maps and ed through the sculpture’s curved form. Library recall larval galleries of the bark ture offers a refuge from the hustle and imprint of the word: it does not show its activities and endeavors into the collec- drawn the “life lines” of the personalities The work’s layout resembles the form of beetle Ips typographicus. bustle of its urban environs. letters, but the spaces in between. tive memory. The 23 places are shown mentioned in the maps on the station Vienna’s UNO City and grants a view of on http://www.koer.or.at/kresse/. windows. Leopoldsberg. 1082 Vienna, City Hall, Hof Nr. 6 (visible from 1120 Vienna, Meidlinger Hauptstraße/ 1160 Vienna, Thaliastraße 125 the elevator), Mon–Fri 9 am to 6:30 pm corner Zeleborgasse g U3, trams 46, 2 Ottakring 1200 Vienna, Anton-Kummerer-Park 1220 Vienna, U2 station Aspern Nord 1220 Vienna, Donauinsel, at Reichsbrücke g U2 Rathaus g U6 Philadelphiabrücke; U6 Niederhofstraße g U6 Jägerstraße ; tram 31 Wexstraße/ g U2 Aspern Nord 400 m upstream Klosterneuburger Straße g U1 Donauinsel © Jörg Auzinger, 2005 © Stadt Wien – MA 7, 2014 © Heike Langenbach © Iris Ranzinger, 2011 © Iris Ranzinger, 2013 © Stadt Wien – MA 7, 2014

e Ra 33 Fritz Wotruba 39 Iris Andraschek & Hubert ß ut C a e r n o aße uer Str t we b lda S g Große stehende Figur 1962 Lobnig / Atelier Auböck + Kárász e po n Leo r 1010 1080 U1 zl sse e ga rga m s e e Turner­tempel Erinnerungsort 2011 s in a e s re r Fritz Wotruba’s (1907–1975) Large s G P 1 Alfred Hrdlicka, Mahnmal 30 VALIE EXPORT, Kubus EXPORT – a E g a i g e A p a r t n ß r g e e a i y l W Standing Figure is a representative Andraschek (*1963) & Lobnig (*1962) U2 l z a d gegen Krieg und Faschismus Der Transparente Raum i r i l t g fö a e s a ld u Ra F s s ut S t se t e 47 enw work from the Austrian artist’s late and Atelier Auböck + Kárász chose a an p ra r eg e 2 Michael Kienzer, Stylit 31 Hofstetter Kurt, s dg u ß a e s ss a St e e r e aß a nger Straß e e i H g U3 e Grinz period, in which he aimed at a figurative web of black concrete beams as the 3 Ken Lum, Pi N.I.C. – nature is cool l ß r l r a Donaufelder S tra e A r e ße

t f d r S r

n representation of man in abstract terms. site’s central element which symbolizes e 4 Olaf Nicolai, Denkmal für die 32 Lois Weinberger, o Breitenleer Straße r a g

e e

n d

i t l z s d

U4 O After Wotruba had returned from his exile the burst roof truss of the Turner Temple Verfolgten der NS-Militärjustiz Dachgarten Wienbibliothek n d ä i

i t r r s lo in Switzerland in 1945, he had increas- which was destroyed in the night from G n F 5 Rachel Whiteread, Mahnmal 33 Fritz Wotruba, e H g O i i l e b r i s e s U6 e S e ingly broken up the figurative in favor of ninth to tenth Nov. 1938. The mosaics of für die österreichischen Große stehende Skulptur e s r c ß s a h H e i a s s r g e t t a h A b e S geometric abstraction. Memorial Site Turner Temple feature fruit e g Rut gas t l e t jüdischen Opfer der Shoah r h se n s u t c r e k e s e e s r e a h M ß A t S n g c a D t l r ra r n and plants mentioned in the torah. P r r b ß a ö i l A t u t d A s e o ß r k a i e e e 2 z e 2 t n b i m e 1082 Vienna, Friedrich-Schmidt-Platz 6 le b s n 2 r r n r a i s u s n K a e t t e ro F O - au r 1090 s t a - n a u ß te k ß A Do n ü d nb g A D g U2 Rathaus or achstraße u ra u db S 1150 Vienna, Turnergasse 22/ f e t u o er a t a S g to n d 1020 34 Maria Theresia Litschauer, t n -S o s A ra a r b a t ße t o e b u r m Dingelstedtgasse t ft e H a u a E G D i ß u ß rz e o t ra D h e h H C B t a n f e nn 6 Honet, Totem Modern [ transkription ] rst -S s r n n e r ei g U6, bus 57A Gumpendorfer Straße h i t e r zo ee d of l r om d r g nn ii jö er l l r s - hh ch S r e e t d e K W e l tr o rt lb S n l e ar aa W raß © Markus Hanakam, 2010 © Iris Ranzinger, 2012 7 Helmut & Johanna Kandl, 35 Inés Lombardi, Ohne Titel a t ü a e s ß l- bb nst ß h G d r k a St o ade

e s A a r r o u B S a tt Q r S t ß e tr 46 t i S e uu ß p r U Denkmal für eine Nobelpreis-­ (Projekt „Garten mit Brunnen“) a e ra r AA ee ra i 48 ß g t i e - g ß - gg S e t n e n e i R m n ß i e n r t a 3 l J t 3 a a N r aa e l e trägerin 36 Julia Schulz, Schlüssel gegen ä e t r f g e 2 t b a o ß 2 u

t n g f D s a a AA s a s ö u a r r E r l G a e d t n oo e s W o d D e r g e e m u w n 50 dd 8 Pedro Cabrita Reis, das Vergessen s l a e n n e n u r g I t t üü 34 Maria Theresia Litschauer 40 Christine & Irene Hohenbüchler t i e e r ß a S z r t s A a W g s SS a r a h a a s ä s L t r T ß s u s n s b A t two drawings in the sky, h e ä r t l e r e e a r s s s 2010 2000 in m n L a E [ transkription ] Wand der Sprachen t p g u h t r d er y ä ß z l S d s n a e tra n t e e h ß G e s e r e two paintings underneath e d r d r n f a t z 34 s s e ß r t o a N D g t u R s e -K ra

o ß t a Relating to Alfred Crepaz’s sculpture Based on aphorisms, poems, and e o a ß

e r s ß o r

r H 9 Speto, 3 Brothers 1100 e a l e s f -

raß a d o S ß t a t u n r hs b g ac h a

Sc serb e hu Al e ß (1939), the Austrian artist Maria Ther- comments, the work Wall of Languages l lgas a n se L a e r 10 Ingeborg Strobl, d h h 37 Maria Hahnenkamp, i l i e a e n 45 L u e c L e V B ss t s o h ä 7 ß a esia Litschauer’s (*1950) installation by the Austrian artists Christine and r e t S a r g t r m ein Garten (zum Beispiel) ü s n r g e Ornament-Vorhang H e e a e G s a t a A k n d s s n ß k rn e r a r a s le t N s o A e e e d l ß g 36 e l [ transcription ] is aimed at a contextu- Irene Hohenbüchler (*1964) highlights s t a l h e a g e a n s l e r g c p e r n a i s s 49 s H t i t n s t e s e i i e 10 r s a s r a m Z t u s ß a e r e p O L n a h u a alization of National Socialist art. It not the Schwendermarkt as a multicultural p n t ra ß ß t i S r s n L g s ä r t b e a an t t a s t g t t r e r ob g e a r e n t ar r t d ß s ß e r s o en a a e a W e st a s e k h r ß e r Ausstellungsstraße aße only critically thematizes the ideological place of encounter and exchange. The s a ü c G W g s a e s i M ar tt T F D D l W z e 1030 h s r e e e l a G o 1120 e lm 35L r o M ß- ine a a ß En ns e n ß a zer traß t g n r o sd background of this statue by means of graffiti-like wall painting was realized by e a t orf r n a g z r s er S 11 Julie Hayward, - t r n t 38 Peter Sandbichler, Trans-form ü lser o n u ra A Stra i J s e ße ße s r t ße s r Stra G i n o t a a g r o r sign, concrete band, and text panel, the artists in cooperation with various inge n te s r e kr r r P abtauchen/auftauchen a t e a b 6 u w O e 31 a o n a l A s h f ß e G c s T a f T l e an W m but also highlights a partly visible Hitler schools in the neighborhood. ha S - k M 8 u lia 30a K au 11 st 5 on a 12 Donald Judd, Stage Set raße a D e 9 a n i i r K h r 33 ß a r i i quotation from 1933. 44 e 32 g n s e 13 Gerold Tagwerker, e e b 1150 H a r i r m 1150 Vienna, Schwendermarkt B b ü 42 dion W h Sta ga e e mirror.grid_passage 43 sse ß i le

39 Iris Andraschek & Hubert 26 r a e n g trams 52, 58 Rustengasse l r 1090 Vienna, Thury-Hof, Marktgasse 3–7 4 t n d K ä a

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t r sk u ng S © Stephan Wyckoff, 2010 © Votava / PID, 2005 1040 t e r a Erinnerungsort ß e e m d ch a u S 29 r b ü a 27 u g t i r N 22 K ß L e te H t l c ä e a s

h s rn a a rg tr r g a m t s n e ne in r H e ß R 14 Ernst Caramelle, Ohne Titel s d

40 Christine & Irene l e r R t L e a l 25 14 ä z s e s n f

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N r in e e e A a l g ß l e

e 35 Inés Lombardi 41 Nam June Paik 15 Franz Graf, SUED Hohenbüchler, w in e ri

16 r r a e h h

u ot n s aße c L t fer Str b o D

ldor S e 17 e H i ra 1994 16 Peter Kogler, e a 23 l a d ß Ohne Titel (Projekt „Garten Tele-Archäologie Wand der Sprachen ü e i ß H e a u a e s e r 41 u 24 z e st t s s p ß n s S o g s u P t a e H a i a s ü a h r U-Bahn-Station Karlsplatz g mit Brunnen“) 2009 r W ß t a 41 Nam June Paik, l g i t e l e n r r t u a f n n s h ß e e h G t z The sculpture Tele-Archeology by the i c a ß s n n e e e ü r - e R E e s t z 17 Henry Moore, Hill Arches h ß e a l M s Tele-Archäologie R ß r u u a t E a o ra n S g e R r f g t J rs 20 e e d ah This work by the Austrian artist Inés Korean composer and artist Nam June r t s n

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S g g s l tr h 39 d s s g v t u s m a s Lombardi (*1958) relates to the district’s Paik (1932–2006) is a figure shaped like s a k r i i n t

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a A a r ß e G a a a v r a M e ß g M ß s o A r i g e 19 s l 40 t a e ß g g e a e s h i s e local history and topographical context. a railway wagon, laid with old bricks F b a n a s c n e a e 1050 1160 S e il s s g ze s t lg n n w e i e e r i a W a Untitled (Project “Garden with a Well“) is from the Vienna Brick Museum. Monitors n ke ß Lin u i s a ß 13 q

E Had s r 18 Ulrike Lienbacher, IDYLLE 42 Brigitte Kowanz, ikgasse e t e e

e s l c

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hönbr ra ga t rt a a r comprised of an apparently overgrown showed videos about Vienna’s subway, un r ß ner S t r J d ch S te p Gü ß t b a l er ei u r ra s e 19 W. M. Pühringer, Hic et nunc einhundertundvierundzwanzig a o n b a 15e t ß r A ßs n M Ar 21 n s S a gst A4 piece of garden in which a well object its Museum of Technology, and the city’s t ru H d a i tf ra r A - ra a ie g m i ß t u O S b r e L e t st t ß e n r W So h m s ob e 20 Hannah Stippl, work in progress 43 Manfred Wakolbinger, Energie, e n r ba ö g 18 n G ah i e h t ch a n e n D made of bronze and fragments of a historical development. S d w r on e r ie in u a u e e e L k n 21 Heimo Zobernig, ohne Titel die aus dem Inneren kommt W n g q a n ß t e e a e e d l h a N b r e fence are to be found. r g ß ie n L a e H d a t andg i F de utgasse s r a f s a rhofst g s 44 Leo Zogmayer, JETZT r raße s u a e r 1150 Vienna, U3 station Schweglerstraße/ g ü t t e r p n e e r H n s t a t s i .

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1090 Vienna, Zimmermannplatz a e n e e L e ass W N

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s ra u Q G n g U6, tram 43 Alser Straße 1060 k g u t e ß e 38 d s e ü u s r s c e ru a e s t e r e n s b r l a s ß s a r u n e tr a a ß len g a e a e u G f stra ß g ß l e g R e ß e e f H 1170 ß e f u a s h 22 Ronald Kodritsch, r e a d t l ß G u a s s c e n d ra r e a e st t n i f e s a r ß h t a elbe H e g a r rgst a e ic r S raße g r E d g p n a n e 45 Maria Anwander & Ruben t u p a r d Reason to Believe s s K H l a s n s e D e R s e t avid a s © Peter Gugerell, 2011 n gass s e D © Werner Kaligofsky, 2009 a s e a Aubrecht, Memorial raße e W e sg 23 INOPERAbLE Gallery m e nst i s e ß e in r s l els m o a l Ed T T a r m G A os g W t e Persecution, Resistance and ien str o J n presents ROA r e a s g e rbe ße r rg s D d

e st e e A

r a s l l n a b s e b e a ß g e 36 Julia Schulz 42 Brigitte Kowanz Struggle for Freedom n e s a t r 24 Lawrence Weiner, h zb u b g erger n r c l s F e i A l t s u i e r b a r a r e s

s ß v Schlüssel gegen das Vergessen 2008 einhundertundvierundzwanzig­ a n r G e

H s a In the Still of the Night l A o 4 ö i 4

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1998 S e e ba e 25 Franz West, Gerngross-Säule e h Keys Against Oblivion by the Austrian n hn n n Gr s n z enz t n i u a r c Z f 1200 ke a ad a artist Julia Schulz (*1979) was realized The Austrian artist Brigitte Kowanz rst ß G h ra e S ße c r 46 Isabella Kresse, FÜR JOHANNA h ts as a commemorative symbol for the (*1957) has uncompromisingly relied on e s e m t e Kai r n ß ser a f e s e m -Ebersd ß n er H a 1070 s a ß orfer S e l b er a e g traße A Verein Servitengasse 1938. The glass expressions, numbers, and light for her r E tra t n e -G d hs r S l r e l c s w e e e ic rli l 26 Iris Andraschek, d ß t a ß display case in the ground accommo- works since the early 1980s. Written out ß r h e r o a e t t a e it a l a h r r r r c g B ß e t g t se t 1220 S r a s s Tell these people who I am S - s e s dates 462 keys with the name tags in full, the house number 124 a has been il h u r e n c h e b i c t th e i r n t e r

27 Heinz Gappmayr, Raumtexte 47 Peter Fattinger, PARKLIFE u i u e t of Jewish residents who lived in this cut into a steel sheet wall. The project f G r W S E

x im n o a m

e L v e 28 Esther Stocker, 48 Stephan Huber, Aspern Affairs t A23 - Au ri S

A23 - Autto a n neighborhood until 1938. also comprises a dynamic orientation i e obah g ä s n e n e e F r g r s H A ß a e

TONSPUR_passage 49 Christian Jankowski, tra a e Südosttttangen up rg B S g ntte L system for the various stairs and the r- l W ts a t ß ne y iie t ss t e n a r r m n a k a a e g s s r a ß 1090 Vienna, corner Servitengasse/ 29 Lois Weinberger, Die große Geste um t s e a a n e day care center. -B i S St a n e g n K r rng r o ass r D - Grünentorgasse n e t r e r B I-Weed, YOU-Weed 50 Richard Deacon, Zeitweise n t as s a c A e s f h d es t r P r g U4 Roßauer Lände; tram D Schlickgasse e e aß o i e g 37 1160 Vienna, Hasnerstraße 124 a r ß r T a Ko - f r lb O S e t eg be t S a rl g U3, trams 46, 2 Ottakring r s a r - se ae s r a S Str s aße ß t u e r a a tr © Johannes Stern, 2008 © Brigitte Kowanz ß -S e rd a arlberg h C ergass e c i

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